Ebisei, who moved from Awata to GojO-zaka in 1688; Eisen and Rokubei, pupils of Ebisei; Mokubei, a pupil of Eisen, but more celebrated than his master; Shuhei (1790-1810), Kentei (1782-1820), and Zengoro Hozen, generally known as Eiraku (1790-1850).
Eisen was the first to manufacture porcelain (as distinguished from faience) in Kieto, and this branch of the art was carried to a high standard of excellence by Eiraku, whose speciality was a rich coralred glaze with finel~~ executed decoration in gold.
Taking the Eiraku porcelains of Kioto as models, Hachiroemon employed red grounds with designs traced on them in gold.
The three Kenzan, of whom the third died in 1820; Ebisei; the four DOhachi, of whom the fourth was still alive in 1909; the Kagiya family, manufacturers of the celebrated KinkOzan ware; Hozan, whose imitations of Delft faience and his pdte-sur-pd~e pieces with fern-scroll decoration remain incomparable; Taizan YOhei, whose ninth descendant of the same name now produces fine specimens of Awata ware for foreign markets; Tanzan YOshitaro and his son Rokuro, to whose credit stands a new departure in the form of faience having p.~te-sur-p&e decoration of lace patterns, diapers and archaic designs executed in low relief with admirable skill and minuteness; the two Bizan, renowned for their representations of richly apparelled figures as decorative motives; Rokubei, who studied painting under Maruyama Okyo and followed the naturalistic style of that great artist; Mokubei, the first really expert manufacturer of translucid porcelain in Kioto; Shuhei, Kintei, and above all, Zengoro HOzen, the celebrated potter of Eiraku waresthese names and many others give to KiOto ceramics an eminence as well as an individuality which few other wares of Japan can boast.
As a product blazing with red and gold, a very degenerate age, off spring of the Chinese Ming type, which Hozen of KiOto reproduced so beautifully at the beginning of the 19th century under the name of eiraku-yaki.